5. Intense bronzing of the deep shadows.—In this case the Negative is in fault; remedy the evil as far as possible by printing on paper containing but little salt.
6. The definition of the Print imperfect, the Negative being a good one.—Much will depend upon the quality of the paper. Towgood's Positive gives good definition. The use of Albumen will be a great advantage. Citrate of Soda ([p. 246]) will also improve the definition on plain paper.
7. Markings of a yellow tint in the dark portions of the Positive.—These are common on Prints toned without Gold; care should be taken not to handle the paper too much, either before or after sensitizing; to wash the prints in a clean vessel; and not to lay them down whilst wet on a wooden table or in contact with anything likely to communicate impurities.
8. Small specks and spots of different hinds.—These, when not corresponding to similar marks upon the Negative, are usually due to metallic specks in the paper; or to insoluble particles floating in the bath.
9. Markings of the brush in Ammonio-Nitrate pictures.—In this case there is probably an excess of Ammonia, which dissolves the Chloride of Silver. Add a little fresh Nitrate of Silver, or use the Oxide of Silver dissolved in Nitrate of Ammonia ([p. 249]).
10. Marbled stains on the surface of the Print.—Draw a strip of blotting-paper gently over the surface of the Nitrate Bath before sensitizing the paper; and see that the sheet does not touch the bottom of the dish.
11. Streaks on Albuminized paper.—Apply the Albumen more rapidly and evenly to the paper. If this does not succeed, add a little Ox-Gall ([p. 243]).
12. Removal of the Albumen from the paper during sensitizing.—The Nitrate Bath is probably alkaline (see [page 89]).